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Expressionist sculpture of Ernst Barlach and Kalhe Kollwitz. This important exhibition, which was on show at th e Statc Gallery, has been brought to Australia by the Peter Stuyvesant Trust and, rather unusually, Perth is the first city instead of the last to sec it. Had it not been an exhibition of sculpture, furthermore, Perth would presumailly never have seen it at all, for the \"Iestern Australian Art Gallery remains without air-conditioning and is consequently shunned by the organizers of major travelling exhibitions of paintings. So long and scandalous has been the delay in building a new gallery, that the \'Vcstern Australian Art Gallery Society is, in desperation, currently organizing a petition to be presented to the State Parliament. Thc most interesting thing allont the sculptures of Barlach and Kollwitz is that they are not, in a general seme, Expressionist at all. Expressionism is centrally concerned with expressing Ihe . artist's cxalted or tormented state of mind and re-creating this state of mind in the spectator. It is, in practice, a profoundly shrill and subjective form of art. The sculpt ures of Barlach and Kollwitz are too calm and unhysterical, too objective, too concerned with the joys and sorrows of olher people for thcm to be truly Expressionist. Theirs was almost the only work in the Festi val that expressed, simply and directly, attitudes towards everyday human experience. Having trudged through so many forests of symbols during the 1976 Festival I , for one, was glad to be reminded that a humanistic art, neither sentimental nor propagandist, is waiting to he rediscovered. tapestries, paintings and prints by John Coburn, rather ligh t-weigh t and dt'corati ve, but making use nevertheless of universal mythological symbols such as the su n, the moon and the Tree of Life. At the spacious Undercroft Gallery of the Universitv of \Veslc rn Australia one could sec,' also thanks to a generous grant from the Visual Arts Board, Leonard French's heavily methologizing series of paintings, The J ourney. This exhibition coincided nicely with the completion of Mr French's large Commissioned mural for the University's new Social Sciences Building. Boyd, Coburn and French are all three, in their different ways, heirs of that profoundly influential movement against Realism and Impressionism that began seriously with the late-nineteenth-century Symbolists and that has continued, as Expressionism, well into our own time. Not so many years ago, Modern Art was synonymous with Cubism, and Cubism was synonymous with Picasso. I t is now becoming increasingly clear, I think, thal Expressionism has in fact been the dominant movement in twentieth-century painting, while Cubism was, comparatively speaking, something ofa side-show. Recent important books on both Symbolism and Expressionism having made this line of descent easier to follow, it is particularly limely thal the major exhibition of this year's Festival should have been devoted to the German There were many other interesting exhibitions during th e 1976 Festival. Still reeling from Culture-shock, and running out of space, T mention in conclusion two new ventures that desenre high commendation: the first annual Print Award Exhibition at the Fremantle Arts Centre and the artists' co-operative, named Gallery G, which opened during the Festival with two simultaneous inaugural exhibitions. opposite KATHE KQlLWITZ LAMENTATION (1940) Bronze 26cm l"Iigl"l .bov~ ERNST BARLACH VEILED BEGGAR WOMAN (1919» Bronze 37cml"ligh Pl"lotographs courtesy Peter Stuyvesant Trust 337